In her latest exhibition, artist Lorraine Bubar continues to explore papercut techniques by representing family tree motifs, including various associations with the words "family" and "trees." Bubar's papercutting technique is rooted in an art form traditionally used to graphically represent the hierarchy in families over generations and practiced in many cultures, ranging from Eastern Europe and Asia to Mexico. Trees, therefore, lend a framework to Bubar's work as trunks and branches create strong vertical and horizontal lines, often accompanied by playful animal imagery. Layering delicately cut paper, Bubar reveals bold color contrasts and lacey textural patterns reflecting the contrast between fragility and strength found in paper itself.

Peter Kempson, "Let's Have Some Fun!"

For his current show, artist Peter Kempson makes a departure from his previous Los Angeles street scenes and turns to playful explorations in mixed media. Engaging in humorous social critique, Kempson digitally layers familiar icons from pop culture to create satirical situations and landscapes that dance between fantasy and reality. In "Chairman," Communist revolutionary Mao Zedong becomes a visual pun, rendered as a collage of chairs. Meanwhile works like “L.A. Stratified” convey darker irony as a fanciful tower divides the city on spiraled socio-economic levels -- images of homelessness at its graffitied foundation and winding roads to Beverly Hills opulence at its peak. Injecting color and comedy in his invitation to peer into ornately detailed scenes, Kempson beckons viewers to take a closer look at modern society.

Stephanie Visser, The Inception Series

In her latest body of work, artist Stephanie Visser challenges her viewers with paintings rooted in deeply intimate moments - those which intertwine emotion and memory. According to Visser, these “mental photographs” are reflective of everyday life, conveying paradoxes of sunlight and shadow, stillness and movement, sound and silence. Working in the realm of the abstract, there is no outside reference in Visser’s works. Rather, Visser distills her emotional subjects through color and form. Beginning with a single gesture upon a canvas, Visser builds images layer by layer. Sanding through translucent color washes, scumbled paint, and collaged materials, this laborious process of application and removal reveals a lyrical world of mystery.

Monday, November 5, 2012

Many traditional papercuts are symmetrical with a horizontal framework to keep the pieces together, as one piece of fragile cut lace, but also suggest the hierarchy of imagery. Traditional papercuts often had symbolic imagery, especially the significance of the different animals. Many of my papercuts have koi in them to symbolize good fortune. I continue to explore the idea that there is a hierarchical layering in nature. All of these species are predators and interact, doing the “dance” of survival.

Have any of your travels influenced the direction your art work has taken? If so, in what way?

I became excited about letting my art evolve from working with watercolor to working with paper a number of years ago when I realized that so many cultures around the world utilize paper cutting. It is in my Eastern European Judaic heritage, in many Asian cultures including China and Japan, and in the Mexican culture to name a few. As a world traveler, I have always been fascinated with what art forms or “folk art” the local people create. As a woman I have also been interested in how different cultures mark events in their family lives, from holidays to rituals. Papercuts have been created as calendars, to mark births and deaths such as for Day of the Dead, and in Judaic tradition they hung in homes and in synagogues to decorate for holidays. They were created by ordinary people working at home with the simplest of materials and tools. My papercutting makes me feel very connected to this extensive cultural heritage, as well as actually utilizing papers created in Asian countries that I have traveled in.

What is the significance of trees in your newest work? How do they contribute to the structure, the meaning?

In my most recent work, I use trees as the overall structure because of the strong vertical and horizontal lines that create the overall framework of my pieces. Family trees traditionally have been created as papercuts. Family trees cut out of paper are graphic ways to represent the hierarchy or relationships between family members. Trees are used to create totem poles, visual representations of ancestry, historical, and mythological happenings. Trees are homes for species and thoroughfares for others. Trees are symbols of life, longevity, and strength.

Throughout human history, trees have been powerful symbols. Trees represent the knowledge of good and evil and the tree of life. Trees are the link between heaven, earth, and the underworld, reaching down to the ground and up to the sky. Trees are a feminine symbol, bearing sustenance and a masculine symbol, being visibly phallic. Trees are a symbol of resurrection because in the winter they take on the appearance of death when they lose their leaves, and then sprout new growth with the return of spring. Trees bear fruit and seeds which contain the essence of the tree and this continual regeneration is a symbol of immortality. Trees are givers of gifts, including spiritual wisdom. Buddha sat under the Bodhi tree when he received enlightenment. In some myths the tree itself is a god, in other myths the tree is the abode of the gods. The tree is a symbol of antiquity and strength and different trees were sacred to different cultures. Trees have been the witnesses to and often the center of mythical happenings and, despite great imbalances in the environment, fight to keep a foothold in the most extreme conditions.

Lorraine Bubar

Neighborhood

39x36 in. papercut 2012

The shape of the trees have given me the structure for my new papercuts, letting me infuse my work with references to my own cultural heritage and other cultures that I am interested in, and letting me include symbols and imagery that occupy and play in their branches and roots.

How or why is a made by hand, one of a kind art piece important?

In this present computer culture, I am very interested in demonstrating a craft where the hand of the artist is still apparent. These are one of a kind, made by hand, and the labor involved is apparent. There is a connection between the tactile material and the resulting image. In working on them, I enjoy the slow rhythm of letting the piece evolve as the various layers of color are cut away.

How do you like people to view your work—from across the room, or close up?

The texture and depth in the layering is very important and the detail asks you to step closer and observe the surface. From across the room, people often think that these are prints. I enjoy that surprise when they notice that they are cut from paper and layered.

Monday, October 29, 2012

After shifting from her artistic beginnings in photography over a decade ago, Cynthia Alexander’s paintings still maintain a photographer’s focus. Fine lines meet large blocks of color as she celebrates the human body in motion. Bold figures of muscular dancers exude an energetic force in her latest exhibition, in which her dynamic acrylic brushstrokes create a pulsating imagery that brings the dancers to life.

Diane Rudnick Mann, New Work

In artist Diane Rudnick Mann’s latest series, she continues to highlight subtleties in her detailed still life compositions. Working with pastels, a medium commonly reserved for loose lines and soft-focus effects, Mann alternatively applies the medium with meticulous intensity. Brilliantly colored crayons, ripe cherries, and unexpected objects pop from the shadows in stark contrast and draw attention to that which may be overlooked in our everyday life.

Joan Ransohoff, The Seasons

In Joan Ransohoff’s latest exhibition, she explores the natural world with keen attention to dynamic seasonal shifts. Whether working en plein air or controlling light and shadow from her studio, Ransohoff’s paintings are a vibrant look at the colorful changes in the natural landscape. Turning leaves, dusky skies, and sweeping clouds from the Idaho aspen forests to the beaches of Cape Cod and the California coast present a luminous look at the beauty of the outdoors.

Monday, October 15, 2012

For many years my work has focused on an exploration of the body - body as landscape, body as geometry, light, texture. Because I've used live models in long poses, my images have generally been static. About a year ago, I noticed a photograph of a dancer in a newspaper and was struck by the interplay of light, color and movement in the image and the extraordinary position of the dancer's body, captured in a moment in time. Out of that newspaper clipping an idea began to take form for a series exploring the body in motion.

What challenges do you find in portraying moving or airborne forms?

The basic challenge in this series has been to convey the sensation and emotion of a body in motion in a static, two-dimensional medium. Because this work is so different from what I have done in the past, each piece has been an experiment. So probably the biggest challenge for me has been letting go of the notion that I need to know where I want to end up when I start. I've had to embrace the uncertainty in this process and stay open to discovering new things every step of the way. The technical challenges have actually been secondary to developing a more adventurous frame of mind when I paint.

How is working with/from photographs different than working with models?

Moving away from live models has been tremendously freeing. I really like working alone, and it's been wonderful not having another person in the room who I feel responsible for while I draw and paint. I can work when I want, how I want, for as long as I want. And because I'm working from a representation of a human body with limited information about that body, not the actual body itself, I move more quickly from what I see toward what I envision. The image in the photograph is my point of departure.

Have you had to make any changes in how you go about making the work, in the way you structure your compositions?

In previous work, I've very often depicted figures without heads. I've been more interested in bodies than faces, and wanted to lead the viewer to focus on the body's abstract qualities rather than the image as a representation of a particular person. I've kept the framing of the image tight, moving the figure to the foreground. As I begin now to explore bodies in motion, I find that I need to include the entire figure to make sense of the image and the movement I aim to convey. As I become more comfortable with bodies in motion, I suspect that this will change. The composition of the images may move again toward a narrower focus - but I'm not there yet.

Where do your reference photographs come from, and how does that affect the work?

To start, my reference material came from newspapers and magazines. I tore out photographs of dancers, athletes, fashion models, any moving figures that struck me as interesting and unusual in some way. When I began painting the series, I realized that I needed to limit my exploration to just one genre at first or risk being completely overwhelmed by the amount of new information I was working with. Because I have some dance background, I am more familiar with the physical vocabulary of dance, so I am starting there for this current series. I plan to explore other genres of movement in the future. I suspect that at some point I will work with live models again, where I can orchestrate the movement - but that is for another series.

How do you feel about this change in the direction of your work? Do you like where it has led you, the results?

This new work has brought me a tremendous sense of freedom. Working on the series has been exciting, exhilarating and very satisfying, and has given me many ideas for future work. This is just a beginning.

Monday, October 8, 2012

How do you decide on the objects that are the subject matter for your work?

Only on a few occasions have I looked for something specific to paint. It seems objects are everywhere-super markets, things on shelves in my house, magazines, flea markets and in dangerous places such as my refrigerator. They are unexpected things that sing to me. Some work out and some don’t which unfortunately are the ones I spend the most time on. I have a hard time giving up on a painting. Because I work in pastel, there is a limit to how much I can work on a painting. Pastel is usually done on sanded paper and it can only hold so many layers so overworking is not possible which is a good thing in my case.

What attracts you to the object?

Sometimes the attraction is how difficult it will be to paint. I love color, which is obvious in my work, but it isn’t what attracts me. The challenge is what excites (and terrifies) me. With my work, it either looks like the real object or it doesn’t. I can’t do anything with a “doesn’t”. There are days I wish I could loosen up and paint abstracts but I have no idea how to go there.
I’m not sure the objects have stories to tell though there have been some items that I wish I knew the history. I have a collection of very old worn children’s shoes. I try to guess what kind of a child wore them. Were they happy, carefree or troubled. I haven’t painted any of them yet because there is a certain sadness I feel looking at them. After looking at something day after day I usually get attached to the objects-their personalities, not their historyYour type of work is very labor intensive. It is easy to carve out time in your schedule to work?

I find working in such detail almost meditative. Sometimes I can paint for hours without realizing I’ve been standing for 5+ hours. My main occupation is painting so it is always a priority, followed by getting hair color and other necessities. The rest of the time seems to fall in line.

Diane Rudnick Mann

Bowl of Cherries

Pastel 14 x 17 inches

What is it like getting ready for an exhibition-are there any special considerations required to exhibit pastels?

I think I am one among many who gets very anxious before a show: about the work-is it good enough or will I be humiliated, will I finish on time, will I be able to talk about my work to people coming into the gallery. Will anyone even like it. I love pastels but you have to be committed to work with it. It is extremely messy but the biggest issues for me is framing a pastel. They have to be framed, with spacers to leave room for any pastel dust that may fall down and they have to be framed with glass or plexi. If uncovered, the pastel can be smudged or wiped off. What is so unsettling is leaving the painting at the framer. Will they keep it covered? Will they always keep it right side up, will they leave pastel dust on the painting? I compare it to leaving a child with a stranger who may or may not be thoughtful or careful. I don’t expect “love”- just a little caring.

What satisfies you most about your work?

Finishing it in a way that it looks as I wanted it to look. And obviously, having someone want to hang my work in their home.

Monday, October 1, 2012

In his latest exhibition, Joe Pinkelman continues a series of work he first developed in Jingdezhen, China. The city has had a significant impact on his work, particularly through his experiences at the Jingdezhen ceramic residency, Pottery Workshop. Using decals, high-fired porcelain, thrown and press molded forms, Pinkleman’s ceramic creations fuse modern, often fragmented shapes, with ancient Chinese pottery techniques to express colorful narratives.

Anne Ramis The Dancers

Continuing her playful approach to exploring new mediums, artist Anne Ramis’s latest exhibition explores photo manipulation and digital media. Inspired by her love of dance, Ramis works to capture movement without losing the emotional energy tied to physical gesture. Collecting vintage photographs from books and looking to such dancing legends as Isadora Duncan and Tamara Karsavina, Ramis’s mixed media works communicate liveliness over the static pose.

Photographer Carol Kleinman documents reflections. Her goal is to capture the many layers of fleeting reality she finds on reflective surfaces. Each reflection is a moment in time - a slice of reality that exists for a second. Kleinman prints her images on canvas rather than paper to blur the line between photography and painting taking the mysterious nature of her work further toward the edge of reality. Combining reality with mystery is very important in Kleinman's work. She does not add, layer or combine in her images. She feels if she were to manipulate the serendipitous reality she finds in the world, the impact would be lost. What you see is what she saw.

Gary Polonsky
New Work in the Food Series

In his latest exhibition, artist Gary Polonsky further explores large-scale still life painting, focusing his most recent work on classic American confections. Working from real food while using non-traditional canvases of balsa wood, styrofoam, and wire mesh, Polonsky’s three-dimensional works break the surface and effectively blur the line between painting and sculpture. “I figure out how to build the physical 3D object, which essentially becomes my canvas,” says Polonsky. “Some pieces require quite a bit of engineering to figure out how to build the object so that it will last.” Magnifying his subjects’ detail, Polonsky’s wall-based constructions echo themes of nostalgia while beckoning viewers to take a closer look at an array of tantalizing sugary treats - just short of taking an indulgent bite.

Darlyn Susan Yee
Re: Fashion

Darlyn Susan Yee's latest exhibition, Re: Fashion explores fashion and attire. Using exaggerated conceptual styles, larger than human sizes, and repurposed materials she playfully challenges traditional roles of family, gender and consumerism. Her latest works inject traditional methods of cloth and garment construction with exciting vinyl, acrylic and polyester flagging, barricade, audio and correction tapes. With a wry smile, Yee comments on the desire to conceal perceived flaws and alter the human form. “I am so excited by the energetic colors and textures I can achieve through use of alternative materials,” explains Yee. “Although these works are not intended to be worn, I've been approached to create customized wearable art for specific events and fundraisers.”

Monday, August 27, 2012

Your work includes knotting and knitting, as well as crocheting. Are there other ways that you use fiber and other materials in your work? What are they? Where do you get them? Do these other techniques change your work in any way? Or, vice versa, have changes to your work resulted in exploring new materials?

I really enjoy placing traditional fiber methods in a new context. For my Alternative Material Series, the selection of barricade, flagging ad audio tape drives the concept of the final project. Created from string, the works in my Knotted Sculpture Series are smaller, with meticulous detail in both form and structure. In my Body Cocoon Series, I use amazing commercially produced specialty yarns with the more flexible techniques of knitting and crocheting to represent the various shapes of the human form. And in my Public Art practice, the visual impact, duration of the installation and exposure to the elements influence my material selections.

Yarn bombing has become a trend…Tell us a little about public yarn bombing? What is the motivation, the history, what issues are involved? How is it different than vandalism, than seasonal decoration? Does the yarn bombing you participate in require a permit? Do you ever worry about being sent to jail like “Revoke” or “LA II”?)

Yarn bombing is a temporary public art form - a non-damaging urban intervention. Most of the projects I've worked on have been in collaboration with Yarn Bombing Los Angeles. We've created installations at the Craft and Folk Art Museum and 18th Street Art Center. In response to the earthquake and tsunami in Japan, we collaborated on the Empathy Circle displayed at the Union Center for the Arts in Little Tokyo. On the closing weekend of Art in the Streets, we yarn bombed our cars outside Geffen Contemporary at MOCA to show a softer side of graffiti. And during the College Art Association Conference, we participated in Un-Space Ground by creating and dispersing pillows inscribed with Wish I Were Here in front of the Los Angeles Convention Center adding a warm texture and color to the otherwise sterile environment.

The immediate feedback while working on a yarn bombing project is so exciting. And applying the technical skills in a different way has been freeing. With any form of expression, there is a risk that others will not receive the message in the way it was intended. Response to Yarn Bombing Los Angeles projects has been favorable, and with each installation we mount comes another idea or opportunity. Some yarn bombing projects are sanctioned and involve permissions, site plans, permits, insurance, etc. Other projects and collaborations happen more organically. In both cases, we take responsibility for returning the public space to its original state.

Darlyn Susan YeeHot Mamma Apron

Crocheted Plastic, 201264" h x 62" w x 3" d

What do your newest creations say about the human form? Are you considering making pieces so that they are wearable? (Do you flirt with the idea, but stop at that boundary…if so, why stop at that line? Is the distinction between wearable art and sculpture important to you? Why or why not?)

Re: Fashion, my upcoming exhibition at TAG Gallery, is about fashion and attire, though these works are not intended to be worn. Using exaggerated conceptual styles, larger than human sizes, and repurposed materials I playfully challenge traditional roles of family, gender and consumerism. It has been quite fun to play with the energetic colors and textures to create these new artworks.

Girls play with fashion dolls that often have lots of bright pinks in their wardrobes. In reality, pink is a difficult color for a woman to wear and be taken seriously. With Hot Mamma Apron and Hot Mamma Mitt, I juxtapose the frivolous feminine pink with the impact of plastic fluorescent flagging tape most often used by construction workers.

In what ways does your work speak to the various cultures of Southern California? How would you like it to affect them?

Whether showing my work in a gallery or museum, or installing it as public art, the familiar voice of fiber begins the conversation. The common thread woven through all cultures is the sense of home and place. Without regard to location, social status, culture or gender, everyone recognizes the processes because they know someone who knits sweaters at family functions, or crochets baby booties, or creates beautiful knotted necklaces. When people see my artwork in a different context, it sparks dialogue about fiber methods in the contemporary context, and at a more base level, about our upbringing, home, and comfort.

Monday, August 20, 2012

Over the past 40 years I’ve worked in many media,
among them sculpture, oils, watercolors, glass, collage and construction. The
type of photography I do combines a great deal of what I’ve learned from these
media, particularly collage. The most exciting thing to me about the
photography I do is the direct connection to reality – the presentation of a
moment in time. I print on large canvases to blur the line between photography
and painting.

You
often travel for your subject matter. Do you see something ‘out there’ that you
don’t see around the corner or at home?

Travel stimulates my awareness and
creativity. I love to wander around cities like Paris, Moscow, New York, and
Chicago. Sometimes I’ll walk for hours and not take any photographs. It’s like
going on a treasure hunt. Then I’ll spot a reflection on a window and get
captivated, drawn in to what I’m seeing. I lose all track of time as I work on
finding just the right light, just the right angle and just the right moment.

In
the Photoshop age, where it is so easy for artists and photographers to
composite, alter, and manipulate photography, why do you stay true to single
exposures? Is it important to you? If so, why?

I
am a documentary photographer. My main goal is to expose and document the many
layers of reality in reflections. I want to encourage people to look more
closely at the world and see the richness and depth of everyday experience. My
work says, "Look more deeply...notice the complexities of life...enrich
yourself with the wonders that surround you at each moment." The impact of
my work stems from the fact that my images actually existed at a specific time
and place and are not my creations. Were I to "Photoshop" and combine
images, that impact would be lost. Nothing I do is set up or manufactured. What
you see in my images is what I saw. I seek out images in world and with a single
"click" of my camera offer them to the viewer.

Carol Kleinman Lost in NY Reflection

single exposure reflection on canvas 44 x 30 in.

Is
scale important to you? How do you decide what size to print? Does it matter?

In
my work, size does matter. I have found that large canvases make a strong
statement and have a unique impact on the viewer. I tailor the size of each
canvas to each image. I visualize the two working together to convey the
mystery in reality in the most potent way possible.

Your
images stop at the brink of abstraction. Do you feel it is important to you to
keep one foot in ‘reality’

I strive to create a tension between abstraction and reality. It is critical that my canvases reflect a “reality” that actually existed at a given place and time. The illusion of abstraction is a launching pad from which the viewer can dig more deeply into that reality and hopefully find deeper meaning and emotions.

Whom
do you make art for?

I make my canvases for people for whom the
surface of things is not enough. As most of us visually go through life, we
rarely focus the complexity of what’s around us. Our minds are too busy. Our
other senses (smell, taste, touch and sound) can also distract us from seeing
the depth of a visual moment in time. Through my photography, I hope to enrich
people’s lives, encouraging them to see with more intention, to appreciate just
how wonderful our inter-related world is.

Monday, August 13, 2012

What are the steps involved in creating one of your pieces, what comes first, next, last? Can you share about your technique? Or is it a secret?

It starts, really, at the end. You see something that catches your interest, a particular scene, an object, a person, or for this series, common objects, snack foods, bottles of condiments, and the like. After I have a specific object in mind, the Heinz Ketchup bottle for example, I figure out how to build the physical 3D object, which essentially becomes my canvas. Some pieces require quite a bit of engineering to figure out how to build the object so that it will last. After all the physical details are finished, the label (also acrylic on canvas) is added on to the painted object.
There are no special techniques, just experimenting with different materials. The final painting whether it's the object, and or the canvas, is acrylic media.

Do you work from life, or some other point of reference?

For this series I work from the actual objects. Although I'm already pretty familiar with the foods in the series, I still photograph them in various layouts and positions to determine the final composition. Of course, the most difficult issue at this point is to resist eating the subject matter.
Do you work in more than one medium? How do the two (or more) influence each other?My primary medium is acrylic paint. But my "canvases" are made up from various materials: wire mesh, balsa wood, Styrofoam, and yes, canvas too. As I experiment with the different materials, the pro's and con's of working with that material become apparent, as far as what you are trying to do for that piece. What works for one piece may not work for another, but it all contributes to a repertoire of possibilities.

Why food, why prepared food? What excites you about it, what is the attraction? Do you feel a kinship with the still life genre?

I've found, over the years, that I'm painting common, everyday objects and scenes. The current series is derived from the foods (sweets mostly, so far), that have a certain nostalgic quality. In this series the various challenges regarding the engineering, and construction of the canvas, the contrasting materials, the textures and shapes, they all contribute to the enjoyment of seeing the final piece up on the wall.
I feel a "kinship" to the act of painting itself. It allows an artist the opportunity to see the world, and respond to it, in a totally unique and personal way, regardless of the subject matter.
The pieces I’ve seen are larger than life.

How is scale important?

Scale is very important in my work. The increased scale, especially of objects we know to be smaller, forces (involuntarily, of course) the viewer to re-examine what they are looking at. There is a heightened focus, a closer look at details that, on the actual object, might be ignored. And, in some cases, the details become the most exciting part of the viewing.

How often do you start a new work? What keeps you working?

I always have at least two, or three pieces that I'm working on at at time. When one piece becomes too tedious, I have another project to go to. The small print on some package labels can be very tiresome, and can take many days to paint, The multiple projects keeps me involved most of the time.

What would you like your viewers to take away from their encounter with your artwork?

Hopefully the viewer will simply enjoy the experience. And if, in some small way we create a different way to see things, in a more focused way, and with more compassionate eyes, then maybe, as our consciousness expands to take in other views, we can make this world a better, more peaceful place for all of us.

TAG Gallery is proud to present the seventh annual California Open Juried Exhibition on August 15, 2012 through August 31, 2012. The reception and awards ceremony will be on Saturday, August 18, from 5-8pm.
The nationwide competition recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Interest in the California Open has been on the rise since TAG Gallery moved to its current location in Bergamot Station in 2009. 456 artists entered the juried show and 59 artworks were selected from more than 1300 entries by Juror Meg Linton, the renowned Director of Galleries and Exhibitions at the Ben Maltz Gallery and Otis College of Art and Design.

While Linton acknowledges the challenging task of winnowing the entries, she also comments that “it was encouraging to see such a strong, vibrant, and diverse range of media, styles, and expressions. I was extremely impressed with the wide array of work and the show offers a glimpse of the many talented artists working in California.” Over the last seventeen years, Linton has organized hundreds of solo and group exhibitions, published dozens of catalogs and worked with respected artists, curators and institutions. She currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

With her selection of artworks, Linton hoped to convey “the diversity of the artists’ processes, politics, and formal and personal experiences that are both familiar and provocative. This exhibition is a celebration of their talent, their passion and their ability to express themselves in positive and stimulating ways. It is a vital sampling of the energy encouraged in this environment. these inspired and creative individuals possess the potential to shape our visual world in meaningful ways.”

TAG Gallery was established in 1993 as a not-for-profit corporation, owned by its members, who share in all business decisions, responsibilities and expenses. It is both a physical gallery and a community of approximately forty artists. TAG’s mission is to offer artists invaluable opportunities for promotional and creative growth. TAG offers extensive exhibition opportunities through the gallery and off-site venues, exposure to prominent members of the art community and inclusion on its website. TAG has been a resource for launching the careers of both emerging and mid-career artists.

Events at TAG, including frequent talks by exhibiting and visiting artists, and the annual California Open Exhibition draw ever-increasing audiences, providing TAG artists with a vital and growing market for their work.

Sunday, August 12, 2012

We hope you've enjoyed previewing the California Open and that you'll come in person to the exhibition which opens August 15 and runs through August 31, or join us for the reception and awards ceremony on Saturday, August 18, from 5 - 8 pm.

Friday, August 10, 2012

Just a few more previews of images from the 7th annual California Open, juried by Meg Linton who currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

Thursday, August 9, 2012

The California Open is a nationwide competition that recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Tuesday, August 7, 2012

While acknowledging the challenging task of winnowing the entries, juror Linton comments that “it was encouraging to see such a strong, vibrant, and diverse range of media, styles, and expressions. I was extremely impressed with the wide array of work and the show offers a glimpse of the many talented artists working in California.”

Saturday, August 4, 2012

The California Open is a nationwide competition that recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Friday, August 3, 2012

Our sneak preview of images from the 7th annual California Open continues. Juror Meg Linton currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

Thursday, August 2, 2012

Enjoy a sneak peek at a few more California Open images. Selections for this exhibition were juried by Meg Linton, who has organized hundreds of solo and group exhibitions, published dozens of catalogs and worked with respected artists, curators and institutions over the last seventeen years.

Wednesday, August 1, 2012

A few more images from the upcoming California Open Exhibition.
More than 450 artists entered the juried show and 59 artworks were selected from over 1300 entries by Juror MegLinton, the renowned Director of Galleries and Exhibitions at the Ben MaltzGallery and Otis College of Art and Design.

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Welcome to the TAG Gallery Blog

TAG is a fine art gallery located on Miracle Mile, Los Angeles. The gallery is home to a diverse collection by Los Angeles-area artists working in all mediums. Since it was founded more than two decades ago, TAG has represented award-winning artists and attracted an international clientele. As an artist-owned business capped at 40 artists, a limited number of new artists are periodically selected for gallery representation through a highly competitive jury process.